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Mississippi State University College of Architecture, Art, + Design
899 Collegeview Street240 Giles HallMississippi State, MS, 39762www.caad.msstate.edu
School of Architecture
9 780692 761786
52500>ISBN 978-0-692-76178-6
$25.00
Faculty AdvisorFrancesca Hankins
Editor-in-ChiefLeah Welborn
Assistant EditorsAvery HarmonKelli Weiland
Copy EditorJamen Berk
Editorial StaffLee BryantTahir Khan Prem PatelAlex RossMax WilsonKelli WeilandJasper HarmonRory FitzpatrickAvery HarmonFelipe OliveraCaleb ShawDaisy Huerta
PhotographerKamau Bostic
AdvisorMichael Berk
Typeset in HelveticaPrinted and bound in China throughAsia Pacific Offset.
©2019 School of ArchitectureMississippi State UniversityCollege of Architecture, Art, + DesignAll rights reserved. ISBN-978-0-692-24993-2
All artifacts and drawings are courtesy of the contributors and students unless otherwise noted. All efforts have been made to obtain lawful permission to reprint copyright images. No part of this book may be used or reproduced in any manner without written permission from the publisher, except for copying permitted by sections 107 and 108 of the U.S. Copyright Law and except for reviewers for the public press. Every effort has been made to see that no inaccurate or misleading data, opinions, or statements appear in this journal. The data and opinions appearing in the articles herein are the responsibility of the contributors concerned.
A Student PublicationBARNWORKS 16|17
Welcome to the 8th edition of BARNWORKS, a selected monograph of works produced, designed, and organized by students to annually document the 24/7 studio activities at the Mississippi State University School of Architecture (S|ARC) flagship program.
The Giles Hall studio building (affectionately known as the Barn) has always been an intense, messy, and high-energy level environment. Originally purposed for judging animals (in the 1920s) and repairing vehicles for Agricultural Extension Services (in the 1940s, 50s, and 60s)—the Barn now serves as an amazing light-filled brick armature for designing and making ‘stuff’ in the 21st century . . . wherein the traditions of care, craft, intensity, and authenticity remain its hallmarks.
Even though we were the first architecture program in the country to require student-owned laptops in the studio (1992—Digital Nomads), S|ARC continues to consciously resist the abandonment of analog media; we remain vitally committed to the physical and ecological realities of making. Often, a laptop can be seen alongside a circular saw (in the shop) or a charcoal sketch (on a drawing board)—continually emphasizing the School’s understanding and commitment to the process and the duality of making artifacts in a post-digital world.
The School of Architecture is a 5-year Bachelor of Architecture (B.Arch) degree-granting program. We offer unique opportunities for innovative teaching, creative research, and substantive interdisciplinary collaboration, including the pioneering Collaborative Studios run in partnership with the Building Construction Science program in the College. We pursue these commitments with a diverse faculty, all of whom teach both in the design studios and in the area of their specialization. We are committed to the challenges of ecological and cultural sustainability, the craft of making and building, collaborative practice, and integrated project delivery. All of these concerns are intertwined in our research and teaching, while also addressing issues of Social Justice and Community Design.
The School of Architecture was recently named a TOP 25 Architecture Program in North America by DesignIntelligence, and was re-accredited by NAAB for a full eight-year period beginning in Fall 2016. Our research centers—including the award-winning Carl Small Town Center and the Gulf Coast Community Design Studio (which was recently named one of six AIA National Resilience Studios in the country)—provide opportunities for our faculty and students to participate in funded research throughout the region, country, and in the design studios.
As a land grant institution, S|ARC’s primary mission remains focused on: teaching + service: both of which are integrally informed by research. In turn, this triad directly translates into outreach to the state, the region, and the world. We provide an education that prepares students to think synthetically, to act fearlessly, and to understand practice as research; and, upon graduation, to make a regenerative contribution to the world. The seriousness demonstrated by our students is unwavering; their honesty, their ruggedness, and their inquisitive nature is relentless. It is this same work ethic and genuine craft often associated with the rural outlands of our region. Mississippi State University is a Carnegie R1 Top Tier (Very High Research Activity) Institution; it also holds an additional dual designation that few others have accomplished: Carnegie Community Engagement Institution.
In closing, I would like to personally thank the heroic efforts of Leah Welborn (the Editor-in-Chief) and Kelli Weiland (Asst. Editor), their student assistants, and the many faculty advisors. A very special thanks also goes to the S|ARC Advisory Board for providing their generous funding and support.
Like the previous editions, BARNWORKS 16|17 is an abridged collection—an annual candid snap-shot—presented again, without theme, and (hopefully) without pretense. Enjoy!
Michael A. Berk AIA | F.L. Crane Professor Director School of Architecture
Introduction
BARNWORKS16|17
The brick barn studio is the iconic studio-space (and place) of our students, alums, and visitors. It is a fitting prefix to the students’ work. To our school, the barn represents the joy, the energy, and the intensity of the study of architecture in Mississippi. A place where making had its academic roots before it permeated the academy. A place where pioneering digital nomads transformed the analog studio. It is workplace, village, and home, filled with natural light during the day and emitting an electric glow at night. A beacon on campus.
First Year Fall SemesterFirst Year Spring SemesterSecond Year Fall SemesterSecond Year Spring SemesterThird Year Fall SemesterThird Year Spring SemesterFourth Year Fall SemesterFourth Year Spring SemesterFifth Year Fall SemesterFifth Year Spring Semester
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Active Building SystemsAydelott Travel AwardArchitectural Student TripMaterialsSite PlanningSchool of Architecture Appendix
BARNWORKS16|17
Contents 7
Ashley Casteelcolor strength, acrylic paint on chip board 12” x 15”
Color Study
Instructors:Dr. Andrew Tripp (coordinator)Francie HankinsGeorge Martin
8 First Year Fall Semester
The study of color offers an exemplary way of understanding the links between observing, thinking, and making. And it does so in a particularly focused way. The study of color offers a way into a critical and creative process, as well as a way into the standards of craft and attention that are required of an architecture student. Color is both objective and subjective. There is a science of color as well as an art.
There is a technical vocabulary as well as techniques for observation that go well beyond the techniques of simply applying paint. But the study of color also relies on other disciplines. It relies on drawing, geometry, and mathematics — all of which students used in the course of this project. But, most of all, it relies on intense observation of — and care for — the world around them and the things they make.
For this project, students studied hue, harmony, chroma, color strength, color, and design, as well as documentation. For hue, students created twelve very high quality painted panels for each of the primary, secondary, and tertiary hues on a 5” x 8” piece of chip board.
From this set of twelve hues, students then identified a split-complementary and a tetradic color combination. They then cut these selected panels into swatches (2” x 2.5”) and, using those swatches, made one field of twenty split-complementary colors and one field of twenty tetradic colors.
Ashley Casteelcolor and design, acrylic paint on chip board 12” x 15”
After discussing Itten’s idea of color contrast and Munsell’s idea of color strength, the students created two very high quality fields on 12” x 15” sheets of chip board. To do this, they cut chroma panels in half to create fifty-four smaller panels (4” x 5” each) and created a field of nine different high saturation figures on nine different lower saturation backgrounds on the 12” x 15” sheet in such a way that there was an apparent balance of strength using lower saturation figures surrounded by higher saturation backgrounds.
A study of color and design was done next. The students were asked to choose one of their color strength fields and challenge the organization of the whole by dividing the single figure in each panel into at least six figures. Then, they created a high-quality design or composition using their ability to manipulate the balance of color strength.
9
Kenzie Johnsoncolor strength, acrylic paint on chip board 12” x 15”
10
Kenzie Johnsoncolor and design, acrylic paint on chip board 12” x 15”
11
Avery HarmonKenzie Johnsonsection and plan, graphite on vellum full scale construction
12
Madison HolbrookAshley Casteelfinal modelexploded axon, graphite on vellum
13
Kit of Parts
Olivia Baker and Krishna Desaisection, graphite on vellum full-scale construction, laminated pine
14
Rory Fitzpatrick, Kenzie Johnson Avery Harmon, Baron Necaisefull-scale construction, laminated pine section, graphite on vellum axon, graphite on vellum
15
A Chair for ListeningIn teams of two, students were asked to design a chair for listening. Using two materials: corrugated cardboard and wood. Via this work, students had to demonstrate their understanding and execution of the following considerations: presentation of theoretical premises of a project; a rational and critical method of iteration; scale; orthometric drafting of plans, elevations, and sections; axonometric drafting; experimentation with materials; precision with techniques (drawing, modeling, and woodworking); two-dimensional design; and color theory.
Students had to address the topics of human proportion, full-size fabrication, typical human actions,and particular sites. The chairs designed for this project were specific to the stairs in Giles Hall, located on Mississippi State University’s campus.
16 17
Breanna RichesonBreanna RichesonBreanna Richeson
Kenzie JohnsonKenzie JohnsonKenzie Johnson
Avery HarmonAvery HarmonAvery Harmon
Jose SolorzanoJose SolorzanoJose Solorzano
color study, acrylic paint on chip board 12” x 15”
17
Avery Harmonlightbox, foam core and hot glue
Cenotaph Memorial
Instructors:Jacob Gines (coordinator)Francie HankinsGeorge Martin
18 First Year Spring Semester
In the spring semester of 2017, first-year students were asked to design a Cenotaph in the Memorial Plaza immediately south of the existing Chapel of Memories on the campus of Mississippi State University. The site is complex, comprising numerous paths through and tangential to the area. They were asked to explore the design at two scales and were asked to execute their design by exploring two modes of making: stacking (brick) and casting (concrete). They then explored the design in physical modeling using plaster of paris.
Students were asked to contend with an elevation change in the site and therefore had to evaluate and consider the topographic variations in the area of the site they chose. They considered the location and types of existing trees and landscape elements. Students were asked to consider removing or relocating elements which were in the area of the site which they chose. Consideration of the movement, and the possible control, of storm water on the site was encouraged.
When selecting a site location for their cenotaph, students considered the relationship of the selected site area with respect to existing buildings, paths, and vistas. There were three projects in which students were to study their sites and develop their projects. First was to analyze gestures of solid and void by developing charcoal drawings to examine and challenge their understanding of their cenotaphs.
Avery Harmonfinal model, plasterlightbox, foam core and hot glueprocess drawings, charcoal on newsprint
The second project was a lightbox divining the charcoal. Divination can be seen as a systematic method with which to organize what appear to be disjointed, random facets of existence such that they provide insight into a problem at hand. This project required the students to search the charcoal drawings they created and apply varied interpretations that sought to manifest an understanding by creating a series of three-dimensional constructs.
These constructs utilized apertures and planar elements to capture and “mold” light. The students’ studies focused on the quality of light and shadow rather than on making shapes or creating form. Building on the exploration of light and spatial experience in the previous project, students designed a section model of their proposed Cenotaph.
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Madison Holbrookfinal plan and elevation, graphite on vellum
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Madison HolbrookWill Jordan Breanna Richesongraphite on bristol board charcoal on vellumcharcoal on newsprint
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Danielle LeclercqAlex DeanAvery Harmon Breanna Richesonlightbox models
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Avery HarmonSarah Hoing Jose Solorzano lightbox modelsfinal plaster model
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Alex Deanprocess drawing, charcoal on newsprintperspective, graphite on vellum
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Kenzie Johnsonplan, axon, and section, graphite on vellum cenotaph section, ink on vellum
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Sarah Hoing perspective, charcoal on newsprintplan, graphite on vellum
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Sarah Hoing final axon, graphite on vellumfinal section, graphite and charcoal on vellum
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Sarah HoingAvery HarmonDanielle Leclercq
Jose SolorzanoBreanna RichesonMadison Holbrook
Katelyn JenkinsHannah StriderHannah Strider
Danielle LeclercqKatelyn JenkinsWill Jordan
cenotaph memorial
29
Meredith Huttofinal model, basswood
Convertible Cabin
Instructors:Hans Herrmann (coordinator)John PorosBriar Jones Lee Carson (BCS)Mohammed Mawlana (BCS)
30 Second Year Fall Semester
Forty-one Architecture and forty Building Construction Science students participated in the Collaborative Tectonics BUILD / DESIGN Studio which had students spending the first third of their semester working individually on estimation, material analysis, and construction logistics design.
The second third of the semester was spent on issues of building fabrication and final assembly of the prototype sleeping shelter.
Students spent the final third of their term on an individual design project, the Convertible Cabin, which required students to deploy previously learned lessons within an individually developed Design, Assembly, & Construction Sequencing proposal for a corporate retreat style eight-person cabin.
Tony Colemanfinal model, basswood
The studio was supported by funding from the Hood Boy Scout Reservation located in Hazlehurst, MS.
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Davis Byarsfinal model, basswood
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Davis Byarsfinal model, basswood
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Daniel Wikofffinal model, basswood
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Satchel Starlingfinal model, basswood
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36 37
Meredith HuttoMeredith HuttoMeredith Hutto
Satchel StarlingSatchel StarlingSatchel Starling
Trey BoxTrey BoxTrey Box
Daniel WikoffDaniel WikoffDaniel Wikoff
final model, basswood
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Robert Scottfinal model
Private Residence
Instructors:Dr. Fred Esenwein (coordinator)Justin TaylorAlexis Gregory
38 Second Year Spring Semester
Second year students were tasked with designing a private residence in Jeff Busby Park located on the Natchez Trace in Mississippi. The site, located on the west side of the park, consists of a large hill with ideal views of the park below. The students began the semester by surveying the land using staffs (based on their own proportions) and other surveying equipment.
Based on the data they collected, the students created plans and sections of the preexisting conditions. These were then used by the students to design a house, for a client of their choosing, that would be responsive to the existing topography and tree canopy, while still prioritizing the approach in their considerations.
Abby Jacksonfinal plans
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Matthew Hudginswest elevation, graphite on bristol board
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Matthew Hudginsplan, graphite on bristol board
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Heather Gillichperspective, graphite on bristol board final model
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Maria Oryplans, axon section, and elevation, graphite on bristol board
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Damion Hardyplan and elevation, graphite on bristol board
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Anthony Adamskyfinal modelfinal sections, graphite on bristol board
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Meredith Huttofinal elevations, graphite on bristol board
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Meredith Huttofinal plans, graphite on bristol boardfinal model
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48 49
Kyle MurphyEvan McElrathAnthony Adamsky
Daniel WikoffRobert ScottEric Hughes
Abby JacksonDavis ByarsBlake Farrar
Damion HardyDuncan ThomasEric Hughes
final and case study models
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Rayce BeltonBarnes BrownJosh CumminsZachary Kelly Tahir Khanstudio site model 4’ x 4’, pine, basswood, and chipboard
Multi-Family Housing: Chicago IL
Instructors:Dr. Fred Esenwein (coordinator)Justin TaylorAlexis Gregory
50 Third Year Fall Semester
The IIIA Studio concentrated on two learning objectives: site recording and multi-family apartment planning. Students documented a portion of downtown Starkville mainly through plan, elevation, and section drawings.
They then applied those skills to record a site near the Sedgwick ‘L’ station in the Old Town neighborhood of Chicago.
Using the Chicago site for most of the semester, the students designed multi-family housing projects with one and two-bedroom units with attention given to specific code requirements, namely egress and accessibility with respect to Fair Housing laws and ADA.
Prem Patelplan, graphite on vellum
Primary attention was given to the spatial planning of the units so students could imagine living in a comfortable apartment.
51
Asher Paxtonwest section, unit model, and unit drawings
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Asher Paxtonwest elevation, site plan, and unit model
53
Matthew Lewis elevations, unit model, and massing model
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Leah Welborninterior elevations, unit model, and massing model
55
56 57
Amanda KoteckiLeah WelbornTahir Khan
Matthew LewisRayce BeltonMatthew Lewis
Karly MorganKarly MorganAsher Paxton
Matthew LewisPrem PatelTahir Khan
chicago housing final models
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Tahir KhanClay Stocker with the assistance ofJansen Fullerplan, graphite on newsprint
Community Arts Center: Starkville, MS
Instructors:Emily McGlohn (coordinator)John PorosDavid Beatty (BCS)
58 Third Year Spring Semester
In the spring semester of their third year, two architecture students and one building construction science student produced a historic preservation plan for the Starkville Armory based on the categories of building components outlined in the Guidelines for Preserving, Rehabilitating, Restoring and Reconstructing Historic Buildings.The program of this project was a community arts center located inside an armory in Starkville, MS which was designed by N. W. Overstreet in 1940.
This project would have community meeting rooms, offices, and other elements found in a typical city office building. Each group was asked to address materials (masonry, wood, architectural metals) and features (windows, doors, decoration, etc.) as they pertained to the building’s exterior through the lens of their chosen approach: Preservation, Rehabilitation, Restoration, or Reconstruction.
For each of the categories, they created an outline which noted whether there was an element or material to be preserved, rehabilitated, etc. If there was, they were asked to describe the element and what should be done with the element or material as well as techniques for preservation, rehabilitation, etc. (as described in the Guidelines that they used).
axon section, pen on vellum
The first part of the semester focused on the front area of the building which would house those elements mentioned. The second part of the semester was centered around the larger armory area found in the rear of the building as well as an exterior program.
One architecture student focused on the armory area, designing a venue for community use, while the other architecture student focused on the exterior elements. Their building construction counterpart created a cost estimate and analyzed and assisted those designs created by the architecture students. All designs followed their chosen preservation plan.
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Clay StockerTahir Khan with the assistance ofJansen Fullerexterior perspective, graphite on bristol board
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final model
61
Asher Paxton Mitchell Hubbellwith the assistance ofHarry Walkerexterior aedicule rendering final model
62
process on tracetransverse sectionprocess rendering
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Prem PatelAmanda Koteckiwith the assistance of Seth Gillettefinal interior plan, graphite and pen on bristol board
64
final model
65
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Tahir Khan, Clay StockerMitchell Hubbell, Asher PaxtonTahir Khan, Clay Stocker
Amanda Kotecki, Prem PatelAmanda Kotecki, Prem PatelAmanda Kotecki, Prem Patel
Mitchell Hubbell, Asher PaxtonMitchell Hubbell, Asher PaxtonMitchell Hubbell, Asher Paxton
Tahir Khan, Clay StockerTahir Khan, Clay StockerTahir Khan, Clay Stocker
Community Arts Center: Starkville, MS final drawings and models
67
Mass-Timber Mid-Rise
Instructor:Jacob Gines
68 Fourth Year Fall Semester
The state of Mississippi contains approximately 19.8 million acres of forested land, which accounts for 64 percent of Mississippi’s total area. The value of timber harvesting in Mississippi has averaged in excess of $1 billion per year over the past 20 years and accounts for over 70,000 jobs in the state. The promotion of sustainable forest management, reforestation after harvest, and keeping forests productive have strategic long-term benefits for Mississippi.
In an effort to promote the use of existing and emerging timber products, Mississippi Forestry Association /Mississippi Forestry Foundation teamed up with the MSU School of Architecture and MSU Department of Sustainable Bioproducts to establish an architecture design studio focused on designing buildings with solid-wood products. The buildings designed by the architecture students were a demonstration of innovative solid-timber construction in the mid-rise commercial marketplace.
The proposals were used to promote any future construction of an office building for the Mississippi Forestry Association, which would be intended to serve as a hub for community and professional outreach, as well as a showcase for building with certified wood and mass-timber technologies. The project site is in Jackson, MS north of the Jackson-Medger Wiley Evers International Airport on Liberty Road.
The site is a privately-held heavily forested area. The students were instructed to utilize heavy timber and/or engineered wood construction (in particular cross laminated timber (CLT) in innovative and experimental ways to develop a proposal. for a tall wood building (8-10 stories) in Jackson, MS.
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Omkar Prabhu Ebony Batchelorsite plans
Nick Vezinawrendering, plans
70 71
Omkar Prabhufinal model
Omkar Prabhufloor plans
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Curtis Reed rendering
Curtis Reed final plan elevations
74
It is important for Mississippi State University’s School of Architecture to participate in efforts to improve housing for our underserved neighbors in the Mississippi Delta. As one of the poorest regions in the country, there are many opportunities for students to learn about architecture while serving local communities. This studio was a collaborative effort that engaged students in improving a deserving Delta community, introduced students to issues of fair housing, and taught them about affordable housing design.
The Affordable Housing Clinic at the University of Mississippi School of Law, directed by Professor Desiree Hensley, asked the School of Architecture and the Carl Small Town Center to help improve an impoverished neighborhood near Moorhead, MS (located between Greenwood and Indianola). For many reasons related to unfair housing policies, this neighborhood, named Eastmoor Estates, had been neglected. With the help of the Housing Clinic, Eastmoor gained funding to overhaul failing utilities, repave streets, and become a walkable community with new sidewalks.
After these improvements, safe and affordable housing was the next priority for Eastmoor. The School of Architecture helped Eastmoor and the Housing Clinic by developing a master plan for the neighborhood that includes a park, a commercial district, and a series of affordable houses that could be built as funding is secured for homeowners. This studio created these designs for Eastmoor while learning about fair housing, affordable residential design, and energy efficient architecture.
The most significant activities in which students participated were the development of a master plan for Eastmoor and the design of 12 affordable houses each designed by an individual student. Students worked throughout the semester to design housing solutions in response to pressing social challenges, and to fit within the master plan and the future neighborhood. The design products were given to Eastmoor so they may find additional funding to carry out the master plan.
This unique collaboration with the University of Mississippi’s School of Law provided points of view on fair housing not often expressed to an architecture student. First-hand experience with these issues reiterated the importance that an architect protects the health, safety, and welfare of everyone in society – not just those who can afford it.
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Eastmoor Estates
Instructor:Emily McGlohn
Zach Henrypresentation board
Luara Lynn Wadellwatercolor renderings
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Nicholas VezinawEbony BatchelorNicholas Vezinaw
Claire SimsOmkar PrabhuOmkar Prabhu
Austin SchnitzleinAustin SchnitzleinAustin Schnitzlein
Kimball HansardZach HenryZach Henry
final models
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Zach Henryprocess sketch
Public Library, Birmingham, AL
Instructors:Hans HerrmannJacob Gines
78 Fourth Year Spring Semester
The beginning part of this studio was dedicated to the definition of the fundamental premises of the project, including the program and the site. The functional typology of this project was a library, to be located in the City of Birmingham, Alabama.
In the course of seminar discussions, readings, and research, the students further developed the definition of the program and the site. The initial parameters of the site required that it be an infill parcel (between existing buildings), in or around the downtown district, with an area between 5000 and 15000 square feet.
After the refinement of the fundamental
premises of the project as a whole, each student was asked to develop their idea in a sequence of four topical modules. These topics were: levels, structures, enclosures, and comforts.
Zach Henryfinal modellongitudinal sectiontransverse section
Each architectural topic was paired with a building system-family: levels-with-foundations, structures-with-frames, enclosures-with-walls, and comforts-with-hearths. The outcome of each of these modules was to be the diagrams, drawings, and models necessary to show a complete design of the system under consideration.
Students were required to have a complete museum-quality wooden model. In each module, students were challenged to develop the topic and system under consideration with the utmost concern for accessibility and sustainability.
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Zach Henryfinal elevation option 1
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Zach Henryfinal elevation option 2
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Claire Simselevation model
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Claire Simssections
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Austin Schnitzleinfinal sections
84 85
Austin Schnitzleinelevation final model
86 87
Zach HenryZach HenryBen Webster
Austin SchnitzleinAustin SchnitzleinLara Lynn Waddell
Zach HenryAustin SchnitzleinClaire Sims
Zach HenryEbony BatchelorClaire Sims
final models
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Ria Bennet, Walt Carter, Ryan Fierro, Rachel PatronasGarret Yelvertondining table, full scale construction, southern soft maple
Table Design and Construction
Instructors:Jassen CallenderMark Vaughan
88 Fifth Year Fall Semester
The ambitions for the fall semester of 5th year are three-fold: to foster a re-evaluation of the habits and beliefs about architecture acquired over the previous four years; to introduce students to the complexities of working at an urban scale; and to do these things while emphasizing the value of careful attention to material qualities, surface conditions, and details.
These ambitions are consistent year-to-year. What changes are the projects through which these ambitions are pursued.Much of the work in Jackson in the fall is conducted in groups. In 2016, the group projects ranged from wood tables built at full scale to master planning a future vision for a derelict area adjacent to downtown to fundamental color and shape studies.
Students were challenged through these assignments to address a wide range of design scales and problem types while simultaneously having to merge the different approaches of team members.
At the conclusion of the group work, about a month prior to the end of the semester, students designed individual building proposals to both synthesize the lessons of the group work and to provide a starting point for the spring semester theses.
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exploded axon, table and leg detail
90 91
Ben MarshallLuke MarshallJoseph RoseMary SandersTaylor Yatesdining table
Cody SmithAryn PhillipsKevin FloresSpencer PowellBrandon Fairbanksdining table
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Ashton Aime plans analyzing light intensity, foot, and automobile traffic
Master Planning of Jackson, Mississippi
sections analyzing light intensity, foot. and automobile traffic
94 95
Garret Yelverton Nathan Thomasnight-time elevation axon and wall section
Nathan Thomasfront elevation hand-drafted detail rendering perspective section
96 97
Color Sculpture
Kapish CheemaAaron Ellzey West Pierce Lucas Posey Nathan Thomasgroup color sculpture
Cody Smithindividual sculpture
98 9999
Ryan FierroRia Bennet, Walt Carter, Ryan Fierro, Rachel Patronas, Garret YelvertonWalt Carter
Ryan FierroCody SmithWalt Carter
Ryan FierroCody SmithWalt Carter
Ben Marshall, Luke Marshall, Joseph Rose, Mary Sanders, Taylor YatesCody SmithBen Marshall, Luke Marshall, Joseph Rose, Mary Sanders, Taylor Yates
individual sculpture, table details
Aaron Ellzeyprocess drawing of natatorium plan
Independent Project: Jackson, MS
Instructors:Jassen CallenderMark Vaughan
100 Fifth Year Spring Semester
The spring capstone studio seeks to develop students’ ability to work independently while simultaneously identifying the issues and concerns that will guide the next decade of their professional development. In order to achieve these ends, students engage building programs researched and written during the fall semester and design these in consultation with the entire 5th year faculty. Students are encouraged to seek weekly one-on-one (and occasionally two faculty-to-one student) critiques with different faculty in order to draw on the faculty’s assorted skills and perspectives.
These critiques, lasting 45 minutes to an hour, allow the student and faculty member to delve beyond the everyday problems of architecture to discover new avenues of research. As a result of this individualized approach, there is no overarching style or theme to the work produced. What emerges instead are the independent voices of these future professionals.
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Walt Carterrendered sections
detailed wall section elevation renderings
Institute of Culinary Arts
Ashton Aime
102
Downtown Jackson, MS has deep cultural roots when it comes to the arts. Food, art, and entertainment are a few of the most crucial. While much emphasis has been placed on art and music festivals, food has always played a major part in shaping the fabric of the city. It is hard to walk around any street corner and not encounter some type of restaurant. Although it is teeming with southern cuisine, Jackson has also had an international flare ever since the 1900s with the influx of Greek immigrants.
Besides the culinary arts technology extensions at Hinds Community College and the Mississippi University for Women, There are currently no culinary art institutes in Jackson. A culinary arts institute in Downtown would provide a central educational place for Jackson and surrounding state neighbors to learn and develop their culinary heritage. Due to the bustling nightlife and gourmet dining restaurants in Jackson, it is crucial to provide a place that will help nurture the underling culinary roots, while at the same time, sparking a newfound interest in experiencing food in new and exciting ways for the community.
Developing this institute next to a vertical farm would allow the culinary students to learn how to source fresh local produce for wherever they end up in the future. A restaurant will be integrated on the first floor, allowing the culinary students to exercise their lessons and contribute to the night life. Establishing this institute along South Gallatin Street, adjacent to the preexisting Iron Horse Grill, will allow pedestrians to engage in a new culinary experience. In the creation of an urban fabric, it is important for architecture to create a unique dialogue between the interior and exterior, not only visually but also through the participation of its inhabitants.
By understanding the immediate site and its characteristics, architecture should be able to heighten the awareness of the presence of these elements on the interior of a building. The use of natural daylighting and transparency in a building should directly influence the participation of a building’s inhabitants and, ultimately, the people outside its confines. While public interaction is important to the success of a city, access to and interaction with natural daylight is crucial to the health of a city’s inhabitants.
In my proposed Jackson Institute of Culinary Arts, I will create a building that allows individuals to connect with the architecture through the manipulation of light and shadow, allowing for different spacial experiences throughout the site. The use of transparency in the facade will also allow pedestrians and students to interact with each other in many different levels; while there may not be a physical connection between the user and the observer, visual connections with the internal programs will activate the site.
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site plan model photos
104
It is widely reported that the continuous advancement of technology has led our society to a quick paced, instant gratification civilization. A civilization with the possibility to map nearly every minute of the day in an unforgiving schedule. This behavior has permeated nearly every corner of society, and has created a vicious time loop for which every item has a time, place, and differing degree of formality.
Looking at a single day of someone’s schedule might show a great variety in places, people, and interactions, but a broad view of someone’s schedule will show the formation of two important locations: the home and the place of occupation. This project will delve into an exploration of architectural strategies that lead to the formation of a “third place,” as coined by Ray Oldenburg.
This study will hopefully develop an architectural image which, when viewed holistically, should serve to show the potential and value of the “third place. This will be accomplished through the integration of the building’s programmatic demands with its communal gesture to that surrounding neighborhood.
The thesis proposes a social center, with the program of a variety of spaces that can facilitate the growth of persons both as individuals and as parts of a whole. The third place sets up a public forum of expression and connection. This will lead to the creation of a “home base,” or stage, for which the community will find its self during local or intellectual crises crisis and will act to reinforce democracy on the smallest scale.
The building will be sited west of downtown Jackson. It will intend to address the conjunction of three different districts through the program of a social center that will to facilitate social gathering and is intended to act as a catalyst that would bring together and blend the adjacent districts.
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The Social Center
Cody Smith
process rendering of entrance
Jackson Community Center
Walt Carter
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Community centers are intended to service the population of the surrounding area — creating both business and social activity. This Community Center Proposal is intended to address both the programmatic issues with the current community center typology and the lack of social activity and community within downtown Jackson, Mississippi.
The design of a community center requires sociological and contextual studies to successfully incorporate it into a community. This building program and the site location hopefully lead to a building that can be the auxiliary of more social contact and more activity within the Downtown District of Jackson, Mississippi.
Currently, there are a total of three community centers within a two mile radius (not including senior citizen community centers); even though there are an appropriate number of centers servicing this area, our site is an undeveloped interstitial zone that connects the residential district, Capitol Neighbors, and downtown.
The typical Community Center primarily incorporates easily adaptable and multipurpose spaces that seemingly create a lack of use from the public — only servicing special events rather than day-to-day community activity. The goal of this project is to incorporate necessary spaces that inspire both individual rehabilitation and growth.
The solution that this program provides is more specific programmatic elements that allow for learning of trades and the arts while also establishing multipurpose spaces that can be adapted to community events relative to the service.
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Jackson Community Center
Walt Carterlongitudinal sectiontransverse sections
exterior renderingelevation floor plans
Natatorium
Aaron Ellzey
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This project is classified as a natatorium or aquatic center. It is for people more serious about swimming and diving. It includes Olympic-sized pools with lanes, deeper pools and platforms for diving, stadium seating, concessions, fitness areas, and changing areas. I think it fits into the Jackson context because it’s a new, interesting sport gaining popularity through the past three Olympics. The facility could encourage the sport throughout the state and be a hub for state competitions.
A transparent building with high dives and stadium seating adds interest to the downtown area. One common design element among different natatoria that contributed to the design of this project was the treatment of the roof. Some projects observed have large expressive structural beams or organic ceiling textures or frosted glass. There were many opportunities to do an interesting design for this type of space.
The different elements present in this project are: competition pool, training pool, leisure pool, hot tub, diving pool, platforms, men’s / women’s changing rooms, administration / staff offices, weight room, training room, pool control room, pump room, and chemical storage.
A crucial design component of a natatorioum is the indoor air quality. The harsh chemicals and the moisture content of the air can make an extremely uncomfortable and dangerous environment. So the design of the systems plays a large part in the real-world functionality of the building. This took this project one step further from conception to realization.
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Natatorium
cell plan chapel plan
A Benedictine Monastery
Ryan Fierro
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There is a notable lack of private religious communities in the metropolitan area of Jackson, MS. As the capitol city of the State of Mississippi and the seat of the Bishop of the Diocese of Jackson for the Roman Catholic Church, Jackson has a particularly present responsibility to cater to its community through intervention. A monastic community posed in the center of an urban area is a fundamental re-imagining of the historically accepted model of a building of that type. Typically, a monastery is located in an isolated environment, free from outside distractions or secular demands.
For this reason, the likelihood is that this proposal will defy and innovate the typical model of monastic architecture in addition to rethinking the meaning of a community of monks and their lives. To engage these disorienting facts, the proposed monastery would be inherently different from others of its type. This monastery would incorporate different types of public engagement—such as a public chapel, administrative offices, and public outreach programs—as well as a subtly unusual element of the monks lives, which is to be a sort of apprentice in a craftsman position to fill in for their work.
The incorporation of handicraft is nothing new to the Benedictines: Ora et Labora has been a staple of the worldwide community for nearly fifteen centuries. However, the structure and tools used to fulfill this crucial part of their spiritual lives will result in a vastly unusual situation that brings that craft into the forefront of their spiritual development.
The urban siting of the building, though unusual, can be looked at as an advantage to the city and to the monastery. In a time where monasteries are becoming less able to support themselves financially and socially, an improved relationship to the public can act as a trigger for a more engaged and integrated community of religious people.
In addition, the site west of the viaduct downtown can provide a critical connection to downtown for the developments of West Jackson and provide key support for the disadvantaged people living in the broader area—something that Jackson desperately needs.
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A Benedictine Monastery
site perspective drawing, graphite and watercolor interior elevation atrium east, graphite and watercolor
Private School
Ria Bennett
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Downtown Jackson, Mississippi is in a unique form of purgatory. The area is sprinkled with low to high density buildings and filled with large open areas of greenery and parking. Downtown is well developed but ironically is under-utilized by the Jackson population. As predominately a business district, downtown experiences population fluctuations according to a typical workday schedule. However, new developments striving to support a new entertainment and residential community are beginning to take hold.
These are occurring around historically significant buildings and monuments near the downtown viaduct crossing. Assuming continued growth in this area, the project proposes this location for a new Urban Design School.
This school would serve 9th to 12th grade Mississippi students interested in specialized education for arts and sciences. Operating privately, the school curriculum would provide unique collaborative education for visual arts, including textile, 2D, and 3D design.
This location within Jackson is valuable in its significance representing the State of Mississippi and its proximity to Jackson universities. Hopefully, relationships would form between the school and other universities including Belhaven University, Millsaps College, Jackson University, and the University of Mississippi Medical Center. Professors would either commute from neighboring universities or reside permanently at the school.
Due to the restriction of developable area downtown, amenities provided to students may be limited. It is also hoped for a relationship with neigboring universities would encourage the sharing of facilities.
Shared spaces and flexibility will be a running theme for the school, both through architecture and curriculum. The school will embrace its unusual location downtown and open its doors for community use, and would allow its students to leave the building for lunch breaks and day projects.
The opportunity of the school will draw a fresh and consistent demographic into the downtown area. High school students require security, with parents and educators surrounding them to facilitate a safe and healthy learning environment. This will guarantee more people will be downtown with needs supporting residential and entertainment communities, as well as improving a sense of comfortability. The siting of this project within an urban environment gives entertaining possibilities for architectural design.
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Aaron EllzeyRyan FierroWalt Carter
Kapish CheemaRia BennetRyan Fierro
Nathan ThomasCody SmithAaron Ellzey
Nathan ThomasAaron EllzeyJoseph Rose
Independent project, Jackson, MS
Alan Pittmandetail photograph
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An Electrified Phototropic Object (EPO) is a carefully constructed assemblage of concrete, wood, paper, fabric, electrical components, and electricity that is pleasing to see and accomplishes specific lighting requirements.
Students designed and constructed EPOs to meet the lighting requirements of reading and relaxation. The EPOs’ effectiveness was tested using a light meter in a dark room. All students were required to have the same light source and use the same palette of materials.
Jake Gartmancomposite drawingdetail photograph
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Electrified Phototropic Object
Instructor:Emily McGlohn
Active Building Systems ARC 3723
Asher PaxtonMatthew Lewisdetail photographs
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Mitchell Hubbelldetail photographs
119
Student Displayedbrief description of work displayed
120
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Specified Project Name
Instructor:Instructor Name
Course Name (Course Code)
Aydelott Travel Award
Recipient:Lara Lynn Waddell
Instructors:Dr. Michael Fazio (Professor Emeritus)
120 Aydelott Travel Award
The Aydelott Travel Award and Prize grants one student in the School of Architecture at MSU $20,000 to independently research, visit, study, and comprehend four visionary pieces of architecture in a way never available to them. Through this experience Lara Lynn was able to explore two themes, one existential and one technical: change and diversity of masonry construction.
Consistent across all four buildings is the use of masonry units as a building material. The Church of Cristo Obrero by Eladio Dieste located in Atlántida, Uruguay, is constructed of thin-shell vaults using local masonry units to produce two structural types: the freestanding vault and the “Gaussian” vault.
At the Casa Baldi, designed by Paolo Portoghesi in Rome, Italy, the faҫade is constructed of tufa blocks, a site-specific material laid entirely by the architect’s father, a trained mason.
In Cuba, the International Schools of Art (ISA), by Ricardo Porro, Vittorio Garatti, and Roberto Gottardi, feature the Catalan vault made of local brick and terra cotta tiles.
At the Experimental House by Alvar Aalto in Muuratsalo, Finland, Aalto tested a number of brick and ceramic materials to further his understanding of their properties to learn how best to use them on future projects.
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Field trips are an important component of architectural education; therefore, for one week during the fall semester, the entire student and faculty population leaves the Starkville campus on excursions to major American metropolitan centers and other points of interest.
The field trip location generally coincides with the studio focus for that year level, and students prepare for these trips by engaging in research and producing case studies. The time on site is divided between structured visits to important buildings, museums, and architectural offices and free time for students for explore on their own.
125Student Architectural Field Trips
All photos captured by students
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Avery HarmonSavannah, GA
Avery HarmonDallas, TXFort Worth, TX
127126
Satchel StarlingPhiladelphia, Pennsylvania Satchel Starling
129128
Max WilsonClay StockerChicago, Illinois Clay Stocker
131130
Michael ScottRome
Holly FlaxRome
Damion HardyMaria OryDaniel Ruffconcrete block
The human race has been constructing with masonry and earthen materials from the foundation of our existence. With the relatively recent development of concrete as a primary building material, we have been able to construct durable, strong, and imaginative structures.
However, the CMUs (Concrete Masonry Unit) block has been cast (figuratively and literally) as a fairly static and, quite frankly, boring element. Obviously, there are several factors that have driven the design of CMU blocks over the years — not the least of which are cost, modularity, and repeatability in the fabrication process.
For this project, students teamed up into groups of 3-4 and produced a set of eight concrete masonry units, based on a single design. Individual CMUs were half-size (4”x4”x8”). Students were encouraged to consider the use of light and shadow, composition, orientation, and configuration as they designed and determined their final product.
Tyler Johnson, Daniel Wikoff, Cord Crenshaw, Satchel Starling LaVontae Alexander, William DeLisle, Myles Jeffries, Kenan Morris Meredith Hutto, Eric Hughes, Matthew Murphyconcrete block
133Materials ARC 2723
Material Innovations in CMUFabrication Lab
Jacob Gines
With support fromJustin Taylor
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Students were asked to create a materials repository for Giles Hall on Mississippi State University’s campus. The ground work for this endeavor was established in the spring of 2013 when the Materials class (ARC 2723), lead by Professor Jacob Gines, began collecting and cataloging several building material samples from industry leaders, thereby resulting in a small physical collection and digital inventory.
Needing a housing for the newly acquired materials, Professor Gines pursued and was awarded the 2013 Schillig Special Teaching Programs Grant, which is currently being used to teach a design/build studio with a small group of students to construct shelving for the materials — now known as The Repository.
The Repository will be located in the SARC Library in Giles Hall. Multiple shelving units will be constructed using 11 species of Forestry Stewardship Council (FSC) certified hardwood — 100% donated by Anderson-Tuly Lumber Co. in Vicksburg, MS.
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Materials Repository
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Matthew Lewis24” x 36” poster
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This project requires the careful observation and evaluation of an urban environment as a means of better understanding the role of the architect. The project’s purpose is twofold.
After reading Kevin Lynch’s “Image of the City,” the students were first asked to identify the paths, edges, districts, nodes, and landmarks in different areas of New York City.
Secondly, the students analyzed the qualities of these elements of physical form and their interaction with one another, and then explored how they contribute to, or detract from, the “Legibility” and “Imageability” of New York.
Mitchell Hubbell24” x 36” poster
The value of this work was to come to know and be able to express how these parts of the built environment work together such that they ultimately create the image of the city as a whole.
As Lynch states, “If this analysis begins with the differentiation of the data into categories (i.e., elements of form), it must end with their reintegration into the whole image.”
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Image of the City Mapping
Instructor:Hans Herrmann
Site Planning ARC 4733
5 MIN WALK
10 MIN WALK
15 MIN W
ALK
20 MIN W
ALK
LANDMARK
NODE
PATH (ROAD)
EDGE
DISTRICT
BUS STOP
SUBWAY STOP
1-3 STORY BUILDING
4-6 STORY BUILDING
7+ STORY BUILDING
PATH (SUBWAY)
TO MANHATTAN BRIDGE
FLATBUSH AVE.
ATLANTIC AVE.
EASTERN PKWY.
WASHINGTO
N AVE.
VAN
DERBILT AVE.
BERGEN ST.
PROSPECT PL.
PACIFIC ST.
DEAN ST.
ST. MARKS AVE.
PARK PL.
STERLING PL.
ST. JOHNS PL.
PATHS: “The channels along which the observer customarily, occasionally, or potentially moves.” Paths are important to Prospect Heights because they help define the boundaries of the neighborhood. Although one could think of every road as a path, only the more important roads and transit lines are looked at. The more residential streets create more of a field condition in between the prominent paths of com-mercial area.
EDGES: “The linear elements not used or considered as paths by the observer.” An edge is a boundary that isn’t meant to be traveled along. Prospect Height’s edges typically work in conjunction with a path to create very noticeable boundaries to the neigh-borhood.DISTRICTS: “The medi-
um-to-large sections of the city, con-ceived as having a two-dimensional extent, which the observer mentally enters ‘inside of,’ and which are recognizable as have some common, identifying character.” While Pros-pect Heights is itself a district of the larger city, the commercial area of the neighborhood could be considered a district. Again, this district typically goes hand in hand with a path, further strengthening Prospect Height’s boundaries.
NODES: “Points, the strategic spots in a city into which an observer can enter, and which are the intensive foci to and from which he is traveling.” The major nodes in Prospect Heights happen mainly because of an intersection of travel. The nodes in Prospect Heights relate to the city at a larger scale more than the other elements do.
LANDMARKS: “Another type of point-reference, but in this case the observer does not enter within them, they are external.” These references might technically be able to be occupied, but their main purpose to the neighborhood is that of a way-finding mark. The major land-marks again fall towards the edges of the neighborhood, while there are minor land-marks that help add some variation to the residential field condition.
PROSPECT HEIGHTS
1000 FT
IMAGEABILITY AND LEGIBILITY
In his book The Image of the City, Kevin Lynch goes into detail describing the city’s form based on five different elements. Two key ways of understanding the city and these elements are imageability and legibility. Imageability is “That quality in a physical object which gives it a high probability of evoking a strong image in any given observer”. In referring to the cityscape, legibility is described as “The ease with which its parts can be recognized and can be organized into a coherent pattern.”
In other words, Lynch is trying to reconcile out perception of a city to its physical form. A city is thought to be more coherent if it has a high level of imageability and legibility. New York City, as a whole seems to have a level of both. Many neighborhoods have a unique sense of character to them, and there are many iconic buildings in the skyline. The boroughs are also well defined through landform, since many of their boundar-ies are made by water. Some unclear areas might be the boundary between Brooklyn and Queens and the extent to which the city extends.
Prospect Heights is a neighborhood near the middle of Brooklyn, just to the north of Prospect Park. It is a fairly residential area with its edges defined by commercial and public activity. Prospect Heights is well known for its tree lined streets and the brownstone townhouse as its major housing type. The neighborhood of Prospect Heights can be analyzed with Kevin Lynch’s five elements of form to learn about the neighbor-hood’s imageability and legibility.
PATHS
LANDMARKWILLIAMSBURG SAVINGS BANK
LANDMARKBARCLAY’S CENTER
EDGEVANDERBILT RAIL YARDS
LANDMARKCO-CATHEDRAL OF ST. JOSEEPH
LANDMARKTEUNIS G. BERGEN SCHOOL
LANDMARKDURYEA PRESBYTERIAN CHURCH
LANDMARKBROOKLYN MUSEUM
LANDMARKBROOKLYN LIBRARY
LANDMARKSOLDIERS AND SAILORS MEMORIAL
EDGEPROSPECT PARK
LANDMARK78TH PRECINCT POLICE STATION
Prem Patel24” x 36” poster
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Lee Bryant24” x 36” poster
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The School of Architecture (S|ARC), established in 1973 by the Board of Trustees of the Institutions of Higher Learning (IHL), offers the only professional degree in architecture in the state of Mississippi. After an advisory council consisting of state architects urged the three senior universities to submit proposals, the IHL Board designated Mississippi State University (a land grant institution) as the location for the new program. At the suggestion of the Mississippi Chapter of the American Institute of Architects (AIA) under the leadership of Robert V. M. Harrison, FAIA, a team of architects was appointed by the National AIA to visit MSU. This important action helped the University better understand the unique requirements of a professional degree program in architecture. It was largely due to this committee’s report that MSU created the School of Architecture as an autonomous academic unit.
When the first group of architecture students entered the University in 1973, advising was provided by the College of Engineering. Professor William G. McMinn, FAIA was named first Dean of the S|ARC and was charged with assembling a faculty. Initially, it consisted of borrowed classrooms and a few adventurous students and faculty members. In 1977, studio space was relocated from a renovated dormitory to a building originally designed as a livestock-judging pavilion (the BARN) and later used as a motor pool. Legislative approval in 1981 of $4.9 million for construction and furnishings resulted in an award-winning addition (designed by James H. Eley, FAIA) to the previously mentioned BARN building conversion. Dedication of the new facility took place during May 1983 with the national presidents of AIA, ACSA, NCARB, and NAAB participating. This event culminated the School’s first ten years of growth from initial idea to full development and national recognition.
Having been participants on the original advisory council, Mississippi architects continue to be extremely supportive of, and intimately involved with, the School’s programs. Their participation in juries, reviews, and thesis preparation continues to benefit the consistently high caliber of both faculty and students. The visiting lecturer series and field trips, in addition to co-op and exchange programs, are considered fundamental to the School’s mission and absolutely necessary given the School’s somewhat isolated location. Following development of the undergraduate program and an initial five-year accreditation, the School expanded its activities through the establishment of the Center for Small Town Research (one of the first community design studios in the country – and later renamed the Carl Small Town Center). This outreach component of the School of Architecture continues to focus local, regional, and national attention on problems and opportunities for small-town design. In 1996, the School established the Jackson Community Design Center, located at 509 E. Capitol Street in Jackson, MS, home of the Stuart C. Irby, Jr. Studios and the Jackson Center Fifth-Year Program. This facility is a three-story award-winning complex (designed by Charles C. Barlow, Jr., AIA) in the historic part of downtown Jackson adjacent to the Old Capitol Building and
Governor’s Mansion. In the aftermath of Hurricane Katrina, the Gulf Coast Community Design Studio was established and is currently housed on the Gulf Coast in Biloxi, MS.
Following Dean McMinn’s departure in 1984, Professor James F. Barker, FAIA became dean. After Dean Barker’s departure in 1986 (to later become Clemson University’s president), Professor John M. McRae, FAIA (vacating the department chair at the University of Florida) became dean and was responsible for guiding S|ARC’s development through its second decade. Upon his retirement in 2001, Professor James L. West, AIA, became the School’s fourth dean. In the early 1990s, the School was recognized nationally (in the Carnegie Boyer Report) for its pioneering Digital Nomads pedagogy of integrating laptop computers directly into the design studio (led by Professor Michael Berk, AIA); its commitment to the innovative and combined use of digital and analog technology continues to mature. In 1995, the School established a Master of Science degree in Architecture (under the leadership of Professors Charles Calvo and Michael Fazio, PhD) and established an advanced research and teaching laboratory for high-performance computing. As a result, the Design Research and Informatics Lab (DRIL) not only served the undergraduate and graduate programs but also supported college, communities, and university related research activities using digital media and the web.
In 2004, a new College of Architecture, Art, and Design (CAAD) was formed by the Provost (under the guidance of Dean West) with the idea of bringing all the design and fine art disciplines on campus under one umbrella and one dean; this college currently houses the School of Architecture, the Department of Art, the Interior Design program, and the newly created Building Construction Science program. These collateral units offer many new and exciting possibilities for the enrichment of S|ARC and its programs. With this new organizational structure, the School of Architecture had its first interim director appointed, senior faculty member Professor David Lewis, PhD. After a lengthy national search in 2006, Professor Caleb Crawford, AIA, (from Pratt Institute) was hired. In 2009, senior faculty member and F.L. Crane Endowed Professor Michael A. Berk, AIA, was appointed interim director, and officially named the director of the School of Architecture in 2010 by the Provost. In 2018, Professor (and 5th year director) Jassen Callender was named the associate director of the School of Architecture.
Over the years, S|ARC’s focus has been applauded in numerous publications: Architecture (the journal of the American Institute of Architects in the 90s), Newsweek on Campus, Architectural Record, Architect, and The Carnegie Boyer Report. Its graduates have thrived in graduate programs at Harvard, Yale, Columbia, Rice, Washington University, Virginia, Virginia Tech, SCI-ARC, Boston University, and The Architectural Association and Cambridge University in England — as well as leading and managing international design firms such as: HKS, TVS, SOM, Gensler, RTKL,
School of Architecture Mississippi State University
History 140
Herzog & De Meuron, Foreign Office Architects, and Perkins & Will, to just name a few. Statistics derived from records of the National Council of Architectural Registration Boards (NCARB) show that S|ARC alumni continuously score higher on the ARE Board Exams than the national average for candidates seeking registration as professional architects.
A few additional noteworthy accomplishments include the following: in 2003, the School of Architecture received its largest ever gift -- a $2.5 million endowment to the Small Town Center by Fred Carl of the Viking Range Corporation; in 2005, the School received its first endowed professorship — the F.L. Crane Professorship in Architecture; from a group of alums, the School received its first facility endowment (upon the retirement of founding faculty member Professor Michael Fazio, PhD) with the upgrading and renaming of the Jury Room (Fazio Jury Room); in 2007, with support of the Lukes, the Giles Hall Architecture Library was endowed and renamed (Bob and Kathy Luke Library); in 2009, the School received the endowed Robert and Freda Harrison Lecture Series; in 2010, the School also received support (from the Harrisons) to endow and name the S|ARC Giles Hall Auditorium (Robert and Freda Harrison Auditorium); in 2011, Professor David Perkes, Director of the Gulf Coast Community Design Studio, was awarded the AIA Latrobe Prize ($100k) from the AIA College of Fellows and was also named a Champion of Change by the White House; in 2015, the Gulf Coast Community Design Studio was named an official AIA National Resilience Studio (one of eight in the country); in 2016, MSU had its first-ever exhibit in the Smithsonian Institution (at the Cooper-Hewitt Design Museum), showcasing the SuperUse Pavilion design/build project headed-up by Associate Professor Prof. Hans Herrmann, AIA; and finally, also in 2016, S|ARC received the Aydelott Travel Fellowship endowment to support annual student travel with a $20k stipend.
S|ARC continues to make its mark. Recently, the School was prominently featured in two of the leading architectural professional journals of North America. The December 2009 Education issue of ARCHITECT magazine identified our School as one of three programs leading the nation in the area of Community Design; we were also identified as one of six schools leading the nation in the area of Social Justice in the built environment. The October 2008 issue of ARCHITECTURAL RECORD featured the Gulf Coast Community Design Studio (our research center in Biloxi, MS) on the cover along with an in-depth multi-page article and images of their work. In 2016, DesignIntelligence named the MSU School of Architecture a “TOP 25 Program in North America” (out of 120+ accredited programs). In recent years, S|ARC has been nationally recognized by NAAB (National Architecture Accreditation Board) and A+CA (Architecture + Construction Alliance) for pioneering a new and innovative Collaborative IPD Studio pedagogical model which involves teaching two of its design studios integrally with the college’s Building Construction Science program.
The MSU School of Architecture offers the only NAAB accredited professional architecture degree in Mississippi. It has approximately 200 students with a student-to-faculty ratio of about 15:1. All of its students receive a dedicated 24/7 studio workstation space in the architecture building (Giles Hall). These studios are the center of all teaching, activity, culture, and life in our School. The School hosts the Harrison Visiting Lecture Series bringing in national and internationally recognized architects, artists, and philosophers. The student organizations (AIAS, NOMAS, APX, and TSD) regularly host Friday Forum weekly lectures, Gallery Shows, Movie Night Film Series, and other major activities (like the Annual Beaux Arts Ball and the annual NOMAS Symposium and TrashionShow). These events help shape the School and our place in the region and world. The School has also been the host to national and international conferences; most recently, the 34th Annual International Merleau-Ponty Circle Conference, FORMCities, an international urban design conference at the Jackson Center, and we co-hosted the International 2015 BTES (Building Technology Educators’ Society) Conference. In 2016, S|ARC received a continued 8-year full accreditation from NAAB with numerous mentions of meeting the NAAB Criteria and Conditions with ‘Distinction’; the program has been continuously accredited since its inception in 1973.
Stay tuned: Coming in 2019, the Giles Hall gallery will be endowed (by the McNeels) and named the Richard and Charlotte McNeel Architecture Gallery.
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Chair
Richard McNeel, AIA President - JBHM Architects, PA
Vice Chair
Kimberly Brown, AIA Partner, Strata Architects, PLLC
Larry Albert, AIAPresident, Albert & Associates Architects
Wendy AllenDirector - Systems & Workflow, NBC Universal
Jack M. Allin, AIAPrincipal, Wier Boerner Allin Architecture
Charles C. “Chuck” Barlow, AIACEO, Barlow Eddy Jenkins, PA
Russ Blount, AIAPartner, Dale & Partners Architects, PA
Nathan Boggan, AIAPrincipal - Foil-Wyatt Architects & Planners, PLLC
Katie Lightsey Browning, AIA, LEED®-AP BD+CCooke Douglass Farr Lemons Architects + Engineers, P.A.
David C. Burt, AIALS3P Associates LTD
Fred Carl, Jr.Fred Carl Investment
Joseph L. EcholsPresident, OwnerOptx, Inc
Jim Eley, FAIAPrincipal, Eley Guild Hardy Architects
Michael Fazio, Ph.DProfessor Emeritus, School of Architecture
Timothy Geddie, AIAVice President - Dean & Dean Associates/Architects
Aaron Gentry, AIAPrincipal, TVS Design
Robert V.M. Harrison, FAIA, FCSIEmeritus Architect
Melanie Hartwig-Davis, AIA, LEED AP BD+CHD Squared Architects, LLC
Creig Hoskins, AIA, NOMA PresidentMember Manager - Studio 2H Design, LLC
Tom Howorth, FAIAHoworth & Associates Architects
Norris Hunt, AIAPrincipal, John Portman & Associates
Robert Ivy, FAIACEO, American Institute of Architects
William Briar Jones, AIAPrincipal, Thomas Shelton Jones & Associates, PLLC
Amber LombardoExecutive Director - AIA MIssissippi Chapter
Bob Luke, FAIAPrincipal - LPK Architects, PA
Daria F. Pizzetta, AIAPrincipal H3 Hardy Collaboration
William “Bill” Polk, AIA, LEED AP BD+CAssociate Principal - Stevens & Wilkinson, Inc.
Ted Trussell Porter, AIAPrincipal, Ted Porter Architecture
Lolly RashExecutive Director, Mississippi Heritage Trust
Tim Rosenbury, AIAPrincipal - Butler, Rosenbury, & Partners, Inc.
Belinda Stewart, FAIAPresident - Belinda Stewart Architects PA
Wayne F. Timmer, AIAPrincipal - WFT Architects, PA
Bradley Touchstone, AIAPrincipal, Touchstone Architecture
Irene Dumas Tyson, AICP, ASSOC. AIA, LEEDDirector of Planning - The Bordreaux Group
Stan Wagnon, AIAPrincipal - Burris/Wagnon Architects, PA
Gina WalcottPartner - Walcott Adams Verneuille Architects
Todd Walker, FAIAPrincipal - archimania
A. Bruce Wood, AIAPrincipal - JH&H Architects
David L. Wooley, FAIA (IN MEMORIAM)David Louis Wooley, FAIA
The BARNworks editorial team would like to graciously thank numerous members of the School of Architecture Advisory Board for their generous financial contributions to this edition of BARNworks.
S|ARC Advisory Board + Students
Class of 2017
Ashton Aime Ria Bennett Walter Carter Kapish Cheema Aaron Ellzey Brandon Fairbanks Caleb Fearing Ryan Fierro Samantha Goodwin Joshua Johnson David KettBenjamin Marshall Luke Marshall Yerix Morel Rachel Patronas Lucas Posey Spencer Powell Jared Robinson Nathan Thomas Zachary White Garrett Yelverton
Class of 2018
Conner Ansley Charles Barlow Anna BarrEbony Batchelor Diondria Bingham Ashtyn BryantElizabeth Bueche Zachary BusmanJarred CreelMaria Degtyareva De’Andre Gaskin Kimball Hansard Zachary Henry Kirby LockardEdward HolmesTaylor McKinney Nathan MileyRashida MomohCory Moxley Omkar Prabhu Abigail Raper Curtis Reed D’ Shari RichardsonLeandra SantosAustin Schnitzlein Claire Sims Mary SingletaryIan SmartNicholas Vezinaw Lara Lynn Waddell Rob Warlick Benjamin Webster
Class of 2019
Jeronda Beason Rayce BeltonBarnes Brown Lee BryantMarian Cancio Danielle CastanedaShelby Christian Laura Cole Joshua Cummins Jake GartmanPatrick Greene Hannah Hebinck Mitchell Hubbell Nate Johnson Zachary Kelly Tahir KhanAmanda Kotecki Matthew LewisKarly Morgan Annabelle Neville Prem PatelAsher PaxtonAlan PittmanBrittany RilandAlex RossBrooke RussoTyler ScottDaniel SmithClay Stocker Emily TurnerJacob Turner Kelli Weiland Leah WelbornGarland Willcutt Maxwell Wilson
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Class of 2020
Anthony AdamskyLaVontae AlexanderWilliam BanisterBrian BerryTrey BoxBrianna BrownDavis ByarsTony ColemanCord CrenshawCaitlin FinchHeather GillichDamion HardyJesscia HinesMatthew HudginsEric HughesBaleigh HullMeredith HuttoShelby JacoMyles JeffriesTyler JohnsonIsaac JohnsonAustin KeatonDanielle MasonEvan McElrathMatthew MurphyDonald MurrayMaria OryCaroline PettisDaniel RuffJordan SmithSatchel StarlingTaylor VaughnAudrey WeeksLaura WhiteDaniel Wikoff
Class of 2021
Olivia BakerDavis BeasleyAlexander BoydKaitlyn BrelandJames CampbellAshley CasteelJulvian CattledgeAlexander DeanRory FitzpatrickMariah GreenJacob HaaslAvery HarmonSarah HoingMadison HolbrookO’Ryan Donta HookerMyles JeffriesIsaac JohnsonKenzie JohnsonNicholas JonesWill JordanCharlyn KingSarah KingDanielle LeclercqCalvin LeslieKerry Ellen McElroyChester MitchellKenan Jamal MorrisBaron NecaiseD’Angelo Davante OliverFelipe OlveraConnor PadgettBreanna RichesonBrittany RobertsCaleb ShawDrue SmithJose SolorzanoJesse StevensHannah StriderPablo VargasBrendon Ward
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Fall 2016 - Spring 2017
Faculty + Staff
Director’s Office
Michael A. Berk, AIA, F.L. Crane Professor Director, School of Architecture
Dean’s Office
Jim West, AIA, ProfessorDean, CAAD
Greg G. Hall, PhD, AIA, NCARB, ProfessorAssociate Dean,CAAD
Emeritus Faculty
Robert Craycroft, RA Professor Emeritus
Michael Fazio, PhD, AIA Professor Emeritus
Robert Ford, FAIA Professor Emeritus
David Lewis, PhD Professor Emeritus
Rachel McCann, PhD Professor Emeritus
Gary Shafer, AIA Professor Emeritus
Faculty
Jassen Callender Associate Professor Director, 5th Year Program
Fred Esenwein, Ph.D., AIA, NCARBAssistant Professor
Jacob Gines, Assoc. AIA Assistant Professor
Alexis Gregory, AIA Associate Professor
Francesca Hankins, Assoc. AIAVisiting Assistant Professor
Hans Herrmann, AIA Associate Professor
George Martin Visiting Associate Professor
Emily M. McGlohn, AIA Assistant Professor
David Perkes, AIA Professor Director, Gulf Coast Community Design Studio
John Poros, AIA Professor
Justin Taylor, Assoc. AIAAssistant Clinical Professor Andrew Tripp, Ph.D. Assistant Professor
Mark Vaughan, RA Studio Faculty, 5th Year Program
Adjunct Faculty
Ted Ammon, PhD Lecturer, 5th Year Program
Briar Jones, AIA Lecturer
Leah Kemp, AIAAssistant Director, Carl Small Town Center
David Mockbee, ESQ Lecturer, 5th Year Program
Lawson Newman, AIA Lecturer, 5th Year Program
Amelia Salmon, RA Lecturer, 5th Year Program
Staff
Tiffany Allen-BarnerAdministrative Assistant, Fifth-Year Program
Phyllis Davis-Webber Administrative Assistant, Design Discovery Adinistrative Coordinator
Susan Hall Associate Professor , Bob and Kathy Luke Library
Judy Hammett Senior Library Staff, Bob and Kathy Luke Library
Scott Hudspeth Building Services and Shop Coordinator
Jane Lewis Dean’s Administrative Assistant
Christie McNeal Communications Specialist
Laura Mitchell IT Coordinator, Admissions/Advising Coordinator
Pandora Prater Director’s Administrative Assistant, Academic Records Assistant
Tammy Vaughan Library Associate, Fifth-Year Program
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BARNworks Collaborators
Editor’s Note
Production Team
Lee BryantTahir KhanPrem PatelMax Wilson
Kelli WeilandAlex Ross
Jasper HarmonRory FitzpatrickAvery HarmonFelipe Olivera
Caleb ShawDaisy Huerta
I am happy to present to you the eighth edition of BARNworks with the same honor and gratitude as its past editors. It is my hope that this edition lives up to the standard of those before. I believe that the work and attention dedicated to this edition is as rigorous and as thoughtful as the work displayed.
This monograph is the product of months of meticulous and determined work on the part of its contributors, my fellow students at the Mississippi State University School of Architecture, as well as the 2018-19 production team. These students worked diligently to present this work in the most effective and creative way possible. I am incredibly grateful for their thorough attention and true excitement as they helped in the creation of this publication.
I would like to thank the Advisory Board for their generosity and support of this monograph, Francie Hankins for her support as our student advisor, and also the students and faculty represented herein. This edition of BARNworks would also not be possible with out the generous help from my predecessor, Ebony Batchelor and my successor, Avery Harmon.
I am also indebted to Director Michael Berk and Associate Director Jassen Callender for their careful direction and patient guidance throughout the process of creating and publishing this book. I feel extraordinarily lucky to have been at the helm of this process with them.
Finally, I would like to thank the School of Architecture for allowing me this opportunity. I believe the future editors will propel this publication forward and exceed all expectations, as I hope I have.
The work presented is a snapshot of the challenging, rigorous, and wholly rewarding work done in the Giles Hall Barn — a place many, myself included, feel at home.
Leah Ballard Welborn
Editor-in-Chief
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